Vol 7

Courante from Cello Suite No.1 in G Major by J.S. Bach

Cellists will instantly recognise this famous Courante from Cello Suite No.1 in G Major by J.S. Bach, BWV 1007, a natural inclusion by Suzuki in Volume 7 to follow the Gigue from the same cello suite. A delightfully quick dance, it has a memorable melody of attractive leaps and runs set against the deep resonances of bass notes, many of them on lower open strings.

Mischa Maisky

As you’ll see below in the YouTube performances, this attractive piece has been arranged for several other instruments. Because it sounds so good and right on the cello, and despite what it teaches us musically, I can’t help feeling it almost seems a folly to play the Courante transposed for the violin. It makes us want to learn the cello!

Study Points

The falling staccato notes require cello-like resonance, which involves taking care with both the attack and the end of each bow stroke. Aim for a clean attack without extraneous string noise and  areverberant ending. Practise the finish of the stroke by lifting the bow off the string to listen to the ringing sound. Now try to achieve equal resonance gently leaving the bow on the string.

Even beats, even notes

Due to the surging melodic structure of the Courante, some students tend to rush the semiquavers (sixteenth notes) in relation to the quavers (eighth notes). Practise with a metronome to even out the beat before letting go of the reins for the right balance of time flexibility.

Tempo

When you listen to Maisky, Rostropovich, Casals and Carr play the Courante, you’ll soon realise that playing at the correct tempo is a vital part of the musical expression. Often it is played too slowly on the violin, and with excessively long bows for the staccato notes.

Quick Tech Tips

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Allegro by Corelli – velocity with good taste

The final piece in Suzuki Volume 7 is Allegro by Corelli, from his Violin Sonata Op. 5, No. 1 in D Major. Allegro is very likeable, tasteful music – and it’s good for left hand fingering technique, a happy combination of benefits, especially since it’s not overly difficult for players at this level.

Painting by Orazio Gentileschi 1612

If we didn’t know from the historical records of Corelli’s fame as a performer, we’d see from his music that he was a violinist and composer who both marked and originated significant advances in violin playing.

To our ears his music sounds sweet, sonorous and symmetrical, quite similar to the music of his more famous successor, Antonio Vivaldi, yet more than anyone it was Arcangelo Corelli (what a great name!) who prepared the way for the great flowering of Italian baroque string music, spreading into Europe and beyond, even influencing the immortal works of J.S. Bach.

The Main Points

Left hand – 3rd and 4th fingers

Remember how hard it was to practise 4th finger trills? There’s no trills in Allegro, but it’s a great workout for fingers 3 and 4 in preparation for those tricky 4th finger trills coming up in Veracini’s Sonata in E Minor, Allegro con Fuoco in Volume 8.

In contrast to, Allegro by Fiocco in Volume 6 for example, Corelli’s Allegro is not excessively fast, yet should be played with real zip and vigour to reveal its true colours. Practise slow then practise quick, play fast.

Changing finger patterns while shifting

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Violin Concerto in A Minor by J.S. Bach BWV 1041, 2nd movement

Here we are at the Violin Concerto in A Minor by J.S. Bach BWV 1041, 2nd movement. When I hear this piece, it reminds me of the first time I discovered Bach’s music. It was a Brandenburg Concerto and I was perhaps three years old, transfixed by the happy ocean of sound that was somehow both familiar and new.

Photo by Griffin Keller

Years later in the the teaching studio, I see that same love and attraction to Bach’s music in the faces of very young students, the essence of kindness.

The Main Points

In the solo violin part of the A Minor Concerto 2nd movement, a distinctive feature becomes apparent, somewhat unusual for Bach: breathing spaces of a measure or two in between the phrases. Many of Bach’s compositions have a non-stop quality, carrying you upwards and onwards with intertwined harmonies and counterpoint, overlapping phrases, leaps into other registers and excursions into surprising places. In this movement, however, we sometimes get the chance to stand still and contemplate the scenery…

Where’s the Beat?

Study Tip: Divide the beats into quavers (8th notes) – at least until the piece is memorised. Read More →

Violin Concerto in A Minor by J.S. Bach – Part 2

This post continues our look at the main study points of the Violin Concerto in A Minor by J.S. Bach, which I described previously as the iconic concerto in the Suzuki violin repertoire, the piece that elevates you into the world of Mozart concertos and more.

Of course to reap the benefits, students need to put in a lot of hard work learning to play this music. The rewards  are plentiful: refinements to technique – better intonation in minor keys, shifting with pinpoint accuracy and enhanced bow division; musical developments – creating complex phrase shapes, subtle dynamics, experience playing with the orchestra; and increased memorising power.

The first objective of learning a new piece is to memorise the music accurately, so you can focus totally on the musical, expressive, interpretative qualities – and bring it up to the correct tempo.

The Key Study Points

1. The Violin Stands Alone

The first time a student rehearses the first movement with the piano accompaniment or orchestra, it can be a slightly unnerving experience to be left alone in measures 61 and 62, then in again in 65 and 66 as the accompaniment falls silent. Maintain an steady pulse and avoid the temptation to rush ahead!

2. Intonation

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